Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.

The glue holding the film together is Adam Newport-Berra's elegant hand-held cinematography, which captures changing shades of winter and the frightened faces in natural light with an astonishing intensity.